Friday, August 31, 2007

The Public Theater's Preview Pack is a great deal. It's simple: you get five tickets to use any way you'd like to for their season (but you have to attend during the first two weeks of performances, hence the name) . The hardest part is narrowing your choice between these great shows:

The Wooster Group: HAMLETAfter a not-open-for-review presentation at St. Ann's Warehouse, The Wooster Group's HAMLET is back for it's official premiere. I saw it in March and it's great!

Yellow FaceLeigh Silverman directs David Henry Hwang's new play about the controversy and protests over the hiring of Jonathan Pryce in the original Broadway production of Miss Saigon. I wonder if he'll mention Face Value?

Conversations In TusculumRichard Nelson directs his own play that chronicles those entangled in Julius Caesar’s world of manipulation and power. Brian Dennehy, David Strathairn and the wonderful Maria Tucci star!

Drunk Enough To Say I Love You?A new Carol Churchill play in New York. What more is there to say?

Kicking A Dead HorseA new play written and directed by Sam Shepard about the myth of the West, a Manhattan art dealer and a dead horse staring Stephen Rea.

The Little Flower of East OrangePlaywright Stephen Adly Guirgis and director Philip Seymour Hoffman bring us their latest collaboration, an inter-generational ghost story set in an upper Manhattan charity hospital.

Thursday, August 30, 2007

Nebraska, 1958: the world is closing in on Charlie Starkweather and Caril Fugate, teenage lovers charged with committing eleven murders in the course of a week. Under pressure to confess by dawn, facts blur and loyalties shift, and the question remains: how far will you go for someone you love?

The NYMF show I am most looking forward to is Love Kills, with book, music and lyrics by Kyle Jarrow and staring the always-amazing Deirdre O'Connell. The musical is based on the true story that inspired the film Badlands.

Saturday, August 25, 2007

As Far As We KnowunCommon CauseWriter: Created by The Torture Project Ensemble in collaboration with Christina Gorman / Director: Laurie Sales.A gripping and gritty ensemble performance chronicles the struggles of an Ohio family tortured by the absence of their son, a soldier abducted during an ambush on a Halliburton transport in Iraq. Inspired by the April 2004 capture of SSG Matt Maupin.2h. Thur 9/6 @ 7pm; Sat 9/8 @ 11pm; Sun 9/9 @ 4:45pm; Mon 9/10 @ 9:30pm.

All-in-all, 2007 New York International Fringe Festival seemed to have a lot more quality shows than past years. A friend of mine said that maybe I was just getting better a picking shows – but I don't think so. Maybe Elena Holy and the adjudication panel is getting better at picking shows? It's ironic, because there seemed to be a lot of Fringe-Bashing going on this year – mostly prior to anyone seeing this year's shows.

The Village Voice's piece (Welcome to the Fringe! Now Where the Hell Is It?) has three wildly different suggestions from three fringe-veterans. John Clancy suggests opening up the fringe to the other boroughs and opening up the festival in general to a model (You got a show? Find a venue and you're in!) similar to the Edinburgh Fringe. While I think that the way fringe shows are chosen, basically from an application, can result in a lot of bad shows – I think opening it up geographically would result in a complete disintegration of the energy that the Festival now creates. A major complaint of the NY Fringe is that unlike the Edinburgh Fringe, the NY Fringe doesn't bring NYC to a grinding halt of all other activity. Edinburgh's population is 457,830 (or was in 2005). I think that is roughly the number of people who live in my apartment building! New York would have to have a fringe venue on every block to generate that kind of excitement city-wide. You can walk down 6th Avenue on the last Sunday in June and not realize there is a parade of a million people happening a block away. That's just New York.

David Cote, on his blog Histriomastix, basically argues for the same opening up of the NY Fringe as Clancy. Cote also goes on to say “I love theater. I love artists. But I don't love scores of mediocre, barely trained amateurs who put together a showcase so that producers will come and give them paying jobs on TV.” Now, I was always under the impression that the Fringe was giving an opportunity for smaller, financially strapped companies an opportunity to produce inexpensively and have somewhat of a built-in audience by way of the Fringe's popularity. After Urinetown, there was realization that a show could have a life beyond the Fringe, but I think Elena and the adjudication process have managed to keep that in check by way of having the Festival be somewhat curated. I've not really got the feeling that Fringe participants were participating as a way of auditioning for TV. The Equity term “Showcase” was created way before the Fringe existed in NYC.

What direction would I like to see the Fringe go? Ideally it would be great if it could be more geographically contained (not less!), the way it was in the early years on the LES. East 4th Street has at least eight theaters between 2nd Avenue and the Bowery. I say take over East 4th Street! And then if there is a demand for a non-curated version of the festival – let those shows go beyond the actual Fringe venues.

But I say CONGRATULATIONS to Elena K. Holy, Shelley Burch, Ron Lasko and the whole Fringe gang for a great 2007 Festival!

Friday, August 24, 2007

It was nice to end my two weeks of Fringe-going on a high note. Mac Rogers' Hail Satan is a smart and funny satire. How would you feel if you took a job in a five-person office, only to find out they everyone went to the same church on Sundays? How would you feel if that service was in worship of Satan? Well that's what happens early on in Hail Satan. The play gets even more complicated and outrageous after the arrival of a baby during one of the office's rituals. While the cast isn't top-notch (except for the wonderful Laura Perloe), director Jordanna Williams keeps things moving nicely but not too rushed. And while the play may try to tackle a few too many issues, it's completely entertaining.

Monday, August 20, 2007

Unfortunately nothing in ELEKTRAFIRE : A Modern Rock Opera is as much campy fun as it's postcard image – that is if you don't count the unintentional laughter. Doug Thoms has written some good music & lyrics, most unfortunately, though, Doug Thoms is also the director – or so it seems. There is no director actually credited in the program, and that is the biggest problem of ELEKTRAFIRE; it seriously needs the focus of a good director, as it stands now there is no point of view or tone, only the doggedly plowing through the piece to it's ridiculous interpretive dance of an ending. Beware!

Sunday, August 19, 2007

Inpired by Eugene Ionesco's Rhinoceros, Dan Fogler's Elephant in the Room is a modern-day farce set in Manhattan plagued by global warming and a population turning into elephants. Part Ionesco, part South Park, part Mel Brooks, Elephant in the Room is a times very funny and ultimately thought-provoking. At one hour and forty minutes, it should be shorter – why the intermission? But the entire cast is having a blast and the fun is infectious. Fogler most likely does his play a disservice by directing it himself; he's be best to collaborate with a director and with a little work this could be a modern classic.

For a fun time, check out Williamsburg! The Musical. With tongue planted firmly in cheek, Williamsburg is sort of a low-rent Rent. The music by Kurt Gellersted & Brooke Fox and lyrics by Brooke Fox are the show's biggest asset, especially the “One Stop (To Excitement)” and “Craigslist Hook-Up/Missed Connections” numbers. Deborah Wolfson's choreography (she also directs) is excellent and she moves the large cast gracefully about the not-so-large stage. And among that cast, Nicola Barber (as Amina Snatch of the evil Snatch Realty) is a standout. While the show does run out of steam by the end, with a little work Williamsburg! could be this years Walmartopia!

Saturday, August 18, 2007

Jazz Hand: Tales of a One Armed Woman is not more than a series of blackout sketches involving Mary Theresa Archbold, who was born with one arm – but that said it's one of the more enjoyable shows at this year's Festival! It's hilarious and touching and completely entertaining. Sharing the stage and his point of view is Mary's real-life husband, Pat Shay. Part of the charm of the show is it's “rough around the edges” style - sort of a performance-verite and knowing that the situations are all based on real experiences. I rarely wish the shows I see were longer, but clocking in at under fifty-minutes Jazz Hand definitely leaves you wanting more!

Friday, August 17, 2007

Have you ever wondered how a person arrives at the point of being homeless? If so, then you may enjoy Pigeon Man Apocalypse. This dark one person play, performed by Andy McQuade, is a curious story of man who is squatting in a soon-to-be-no-longer-vacant building living on rainwater and – you guessed it – pigeons. Through the course of the fifty-five minute piece, we learn about Pigeon Man's messed up, abusive childhood and his last attempt at normalcy. While I'm not usually fond of one-person shows, I was rarely bored here; the text is unpredictable enough to maintain your interest and McQuade's performance is energetic enough to carry the evening.

Thursday, August 16, 2007

So why is Priscilla Barnes only now making her New York stage debut? Best know for playing the third Suzanne Somers replacement on the sitcom Three's Company, Barnes is currently playing Hillary Clinton in Hillary Agonistes at the Fringe Festival and she's outstanding! The play itself is odd, but in a good way. The premise, that 65 million people have vanished off the face of the earth in what may or may not be the Rapture a few months after Hillary becomes President, has the makings of a very black comedy – and at the beginning it is. But as the show progresses, things become more high stakes until it's bleak ending. It's a great premise and a great show and Barnes is so excellent that you can't take your eyes off her. Nick Salamone, the playwright, also plays all of the male roles in the production, is also very good – I wanted to see his James Carville! Let's hope we see Priscilla Barnes back on the NYC stage soon!

Wednesday, August 15, 2007

I really like unusual titles, so I had to check out PN 1923.45 LS01 Volume 2 (The Book Play) and I'm glad I did. It's a time-trippy tale of two couples: a male/female couple from 1951 and a gay couple from 1981 and the book that brings them together. Bixby Elliot's play examines numerous subjects – many of which are not often tacked and handles it all well although I do think the play could use some editing. Marguerite Stimpson is excellent as the 50's librarian and the always fabulous Everett Quinton is terrific as the man who sort of brings it all together. Aside for some slow pacing of scene transitions Stephen Brackett directs the play well. All in all PN 1923.45 LS01 Volume 2 (The Book Play) is worth checking out.

Tuesday, August 14, 2007

What's in a gimmick? In the best circumstances a good gimmick can highlight a point or underscore an issue; in the worst circumstances a gimmick is a shallow attention-getting device with no relation to the work at hand. Dressing Miss Julie has a hell of a gimmick – in the best sense of the word. At any point during the performance, any audience member can ring a bell at either side of the stage at which point the two actors on stage (one male and one female) exchange the roles of Jean and Julie in Strindberg's famous play. Both actors handle the parts and the gimmick with professional ease and good sportsmanship! Kull and Perkins are also credited with the fun adaptation in the spirit of Charles Ludlum. Although the bell-ringing and role changing does grow tiresome by evening's end, Dressing Miss Julie is a smart, fun Fringe show!

Monday, August 13, 2007

Bash'd is subtitled “a gay rap opera” and it really is! Written and performed by Chris Craddock and Nathan Cuckow is a morality tale of homophobia and revenge and tolerance. Told almost exclusively in rhymes by rappers T-Bag and Feminem, it's a smart, funny and moving show that goes a long way in making a case for hip hop musical theater. Much credit must go to director Ron Jenkins; the show is tight - flowing effortlessly from song to song and the actors shifting from character to character (to narrator). The music, by Aaron Macri, using samples from many personal favorite 80's songs, is a highlight of the show. But, ultimately, the limitations of the wrap style of the authors weighs down the fun and my one criticism of Bash'd is the lack of variety in the songs. With that slight improvement, Bash'd could be a masterpiece. As it is now, though, it's still damn good.

Sunday, August 12, 2007

I Dig Doug is the kind of smart and funny Fringe show you hope to see, but rarely do. Written and performed by Karen DiConcetto and Rochelle Zimmerman, it's a sort of “Politically Blonde” as it follows the tale of a ditsy girl who, after she becomes disenchanted with her favorite reality TV star, turns her admiration to Douglas Ward, a political candidate for president. The play follows her hilarious journey to get to Iowa to meet her man. DiConcetto is perfect as the girl and Zimmerman is terrific as everyone else! Bert V. Royal's spot-on direction and Mark Huang's sound design conspire to make for ridiculously funny wild ride of a show. Better hurry and get tickets if you want to see this show for the bargain price of $15!

The Winter's Tale Project is a musical version of one of my favorite Shakespeare plays. Given it's promo tag lines (“LOOKING FOR A HOT PIECE OF TALE?” and “2007's Best Musical featuring death by a Bear”) I was expecting something a little more tongue in cheek, but save for a song entitled “Stuck With The Bear” commenting on the Bard's most ridiculous stage direction – this musical mostly plays it straight. The cast is mostly good, and some (the charming Farren Timoteo, the feisty Dot Portella and the lovely Emily Mattheson) better than that and Bridget Ryan's direction keeps things moving briskly.There is one standout song - “To The Moon And Back” - and given the sort rehearsal time, the low ticket price, and the effort of the game cast The Winter's Tale Project is a mild success.

Saturday, August 11, 2007

Beware of strangers carrying pork chops! End's Eve: The Feast of 2012 is one of those jaw-droppingly-bad plays about which you can only ask: What were they thinking? A group of friends gather on the night of December 20, 2012, to ring in what may be the end of the world (according to the Mayan calendar). When ridiculous news breaks announce weird occurrences (like the disappearance of Japan!), crop circles appear in the living room, and a large crystal skull turns up in the take-out – all without a hint of (intentional) humor – you know you are in for a rare evening in the theater. The proceedings are so hopelessly directed, and so amateurishly acted that I won't mention any names. But the majority of the blame goes to the play's two (!) authors – who seem earnest in their interest Mayan myth and culture (according to the program notes) and have managed to trivialize it in the form of this sci-fi silliness.Fringe Rating: 1/10

A religious rodeo clown with a big head (GL) falls for the mean fat girl who happens to be an atheist (Lyza). When they have sex, she shouts out the name of the next winning bull rider. They scheme to bet on these winners and so they become rich enough to hire an Elvis impersonator to be GL's mother's companion. Playwright August Schulenburg's Riding the Bull is the kind of quirky play for which the Fringe is famous - not always a good thing, mind you. GL's monologues are sharp and funny – the dialog, less so; and the reversals that both characters undergo seem to come from nowhere. The physical production is excellent and Kelly O'Donnell's direction is fine but in the end, unfortunately, Riding the Bull doesn't amount to much.

Friday, August 10, 2007

Armstrong/Bergeron Dance Company's All Aboard is a multi-media dance piece about train travel. Video of footage shot aboard Amtrack, the NYC Subway, and in various train stations and interviews with passengers and crew accompany many of the dances. The choreography itself is mostly terrific and enjoyable specifically "The Luggage Car". Unfortunately, not all of the dancers are technically at the same level, which does infuse the piece with unwanted dramatic tension. The use of music by Steve Reich without comment on the political nature of the music bothered my companions and given the apolitical nature of the piece, perhaps the choice of this music should be rethought. Removing that criticism, and I do note that is a huge caveat, All Aboard is an enjoyable work.

Anne Frank and family performing scenes from Chekhov's The Seagull while in hiding – a simple and effective premise; it immediately adds a layer of subtext absent in most productions of Chekhov productions. Adapted and directed by Marc Stuart Weitz, Days and Nights: page 121, lines 11 and 12, is a powerful piece of theater. Weitz isn't afraid of long stretches of silence or repetition of text and the results underscore the horror of their confinement. The cast is very good with Erin Gorski (Anne) Philippe Bowgen (Peter) and Catherne Gowl (Mrs. Frank) being particularly excellent. Fair warning though, familiarity with The Seagull is a must – it may be hard to follow as actors switch roles and plot is not a focus. That said, it was nice to start off this year's Fringe Festival with such a well though-out, mature and well-done piece.

Thursday, August 09, 2007

The Village Voice's Alexis Soloski holds a frank discussion on the state of the NY Fringe Festival with John Clancy - a founding member of the festival, Nick Stuccio - the artistic director of the Philadelphia Fringe, and Vallejo Gantner - the former artistic director of the Dublin Fringe and current artistic director of P.S.122.

Tuesday, August 07, 2007

...a new musical comedy about love, spy planes, harem girls, and the Notre Dame football team, complete with belly dancing and a Middle Eastern score. Book by Oscar winner William Peter Blatty (The Exorcist) and music and lyrics by Michael Garin, Robert Hipkens and Erik Frandsen.

Monday, August 06, 2007

A new play by the acclaimed Adam Rapp will have it's premiere at the Flea Theater. Bingo With The Indians, written and directed by Rapp, is about a disgruntled East Village theater company with more on their minds then playing Bingo descends upon a small New England town.

Bingo With The Indians will run October 25 - December 22, Tuesday - Saturday at 9pm with 7pm shows December 2, 9 & 16. The official opening night will be November 9th.

Sunday, August 05, 2007

In a way it's hard to believe that Horse Trade Theater Group is only ten years old, it seems like they've been around forever. But in a real estate crunch that has closed theaters piling up like dead bodies in a slasher film (Actor's Playhouse being the latest causality) a ten year anniversary is a cause to celebrate. That Horse Trade runs three off-off spaces that offer affordable rent is cause for canonization.

Among the many, many shows that will pass through the doors of the Horse Trade theaters will be a production of Mac Wellman's Harm's Way, October 2nd - 27th.

Saturday, August 04, 2007

New York will be getting to see the new work by the fabulous Karen Finley titled WAKE UP! in October. WAKE UP! consists of two pieces: The Dreams of Laura Bush and The Passion of Terri Schiavo and it sounds fantastic.

Previews begin October 7th The Lafayette Street Theater at The Theaters at 45 Bleecker and runs through November 18 - Sundays at 7:00pm. It doesn't look like tickets are on sale yet, but will be eventually at Telecharge.

Friday, August 03, 2007

After years of steady diet of The Wooster Group, Richard Foreman, Big Art Group, Soho Rep, etc., the Roundabout Theatre's production of Old Acquaintance seems positively avant-guarde – not that it is, of course, but it just has almost nothing that I love about the theater in it. The play, which probably seemed dated ten years after it was written, now almost seventy years later seems practically prehistoric. In fact my experience watching the show was not dissimilar to a trip to the Museum of Natural History observing an extinct species. Other than wanting to know what a 1940's equivalent to the sit-com was, there is little reason for reviving this play. Now, all that said – I didn't really have a terrible time at Old Acquaintance, mostly thanks to its two leading ladies Margaret Colin giving a mature, grounded performance and Harriet Harris' hilariously over-the-top antics. Cory Stoll has charm and it swell to look at, but the rest of the cast doesn't even have that. I wish there had been a director's note in the program – or even more importantly an Artistic Director's note explaining why they chose to do this play.